Once upon a time there was a radio format called “AOR.” The acronym stood for Album Oriented Rock, and it represented an exciting group of influential stations in markets all over America. It exploded back in the 70s when many cities and towns had 2 and sometime 3 AOR stations, all of which were playing rock n’ roll from the 60s and 70s – as we now know, the golden era.
And part of what these stations were all about was special programming, mostly on the weekends. As these stations multiplied and knocked down impressive ratings in market after market, syndicators like Westwood One, Global Satellite Network, MJI, the ABC FM Network, The Source, and others sprouted up with shows to fill the void. Many of these made AOR stations more interesting, providing programming and content not available anywhere else. Typically, they were hosted by some of the biggest personalities in rock radio who brought their special perspective and style to these shows.
One of the most successful was the “King Biscuit Flower Hour,” debuting in 1973, presenting original concert programming through the early 90s. D.I.R.’s Bob Meyerowitz conceived the show – a one-hour concert program highlighting the biggest and best bands of the era. The King Biscuit recording truck would park itself outside theaters and arenas, record the show, and distribute it first on reel-to-reel tape, later on vinyl records, and finally on CDs.
As a programmer, I loved the show. Live performance is what brings music to life. And “King Biscuit” broke out long before there was MTV and regular concerts series on television. Every week, I’d receive those disks, always a well-recorded show, and would pull off one track to put in rotation that week to promote the show. (Don’t tell anyone about that – I never told D.I.R.). It gave us a chance to play a great live version of “Wheel In The Sky” or “Gimme Three Steps” or “Sultans Of Swing” for a few days – a way to sound just a little different from the competition, while promoting the upcoming show.
How were the ratings? Well, it was difficult to break down Sunday nights in a meaningful way. You could see the 7-Midnight performance, but more often than not, “King Biscuit” was locked in with a bunch of other shows that ran every weekend. The Arbitron diary system wasn’t granular enough to make those kinds of calls. So, as we used to say, it was good image programming for the radio station, whether lots of people were listening on Sunday night or not. And we continued to program and promote it.
Contrast that with today, especially in PPM markets. Statistics don’t exist on the number of syndicated that have gone by the wayside in the past decade or so, but there are clearly fewer of them available to stations today. And special programs created by syndicators around holidays, concert tours, or the release of a new album have also dried up.
That’s because, in general, the consensus is these long form programs aren’t congruent with metered measurement. And it’s easy to just say “no,” rather than take a risk or give away commercial inventory to a syndicator.
I was thinking about “King Biscuit” while reading a New York Times piece about the cancellation of Netflix’s reboot of “One Day At A Time.” After 
three seasons on the video streaming juggernaut, journalist James Poniewozik lamented the axing of this show.
This new version of the 1970s Norman Lear show reimagined the story line, coming up with a modern-day twist featuring a single mother from a Cuban-American family trying to figure it all out. And yes, there was a “Schneider” on this new show, too, although in this version, the guy is a hipster.
The show has received consistently strong reviews from both critics and viewers – impressive for a an updated version of an original hit (think “The Odd Couple,” “Charlie’s Angels,” “24,” and other stinkers). But they weren’t enough to save the show from the Netflix pink slip.
Oddly enough, Netflix – a platform that does not have to endure the vagaries of the ratings – tried to sound as brokenhearted as “ODAAT” fans were feeling on social media:
The money line?
“…simply not enough people watched to justify another season.”
You have to wonder what the minimum performance threshold is on audience size/streams for a show in order for Netflix to consider it a success or at least worth renewing. Remember, we’re talking about a subscription service here – not a ratings/rate/revenue model like on network television.
And that’s a similar calculus that radio broadcasters are tasked with when they examine special weekend and other special programming. In public radio, these shows come with an actual price tag, so there’s an ROI question. In commercial radio, the “cost” is whatever ratings hit a station may (or may not) take as a result of running a syndicated show that wanders outside its conventional format boundary lines.
But then there’s the “cost benefit analysis.”
Is there image upside in carrying a show like “Little Steven’s Underground Garage” or “Passport Approved” with Sat Bisla? Does it make a key portion of the audience happy, and does it help build a better brand? In the case of Little Steven, there’s talk and vintage classics that may not be familiar. And with Sat, it’s exposure to music from around the world that – by definition – the audience hasn’t heard.
Both Steven and Sat are wonderful, informed, and passionate storytellers. They’re true believers in the music they expose and play. And that kind of personality is something that is often missing in action from so many radio stations, especially over the weekends.
Neither of these guys know what a “safe list’ is. And that’s the point. They’re featuring music that isn’t going to make a conventional playlist or survive the arbitrary dial swings and pencil marks of music tests.
So, perhaps a meter or a diary will fall by the wayside on Sunday night. But is there an upside to running a special show that gives a station image value even though it’s not a ratings winner?
And in the big picture of a radio station’s story arc, what is really lost when a cool, special program is dropped from a lineup? Obviously, that’s a market by market, brand by brand, PD by PD decision. As they say, “your mileage will vary.”
But there’s more to the analysis than just taking a black and white view of a data-filled ratings spreadsheet. There’s a less calculable image component that is much harder to factor in or appreciate.
The Netflix team is smart – they obviously did their due diligence on the cost of producing this show versus its streaming engagement and whatever other data matters. And “One 
Day At A Time” ended up losing – as did those who loved the show.
In the short run, it’s hard to imagine Netflix being hurt by this decision – in spite of their “empathy” and “sadness.” They’re the biggest player in their field with the best programs, the strongest awareness, and undoubtedly, the best audience ratings (if we only knew what they were).
But over the long haul, more decisions like this one could begin to erode their brand equity with the same consumers who dutifully shell out money every month for the privilege of watching video content in the comfort of their own homes. Between Hulu, YouTube, and upstarts like Disney, there will very soon be even more viable video streaming options.
I’m not suggesting radio programmers throw caution to the wind and give every syndicator an open invitation into your stations. The higher stakes that come up with ratings challenges and revenue generation force them to be very choosy and analytical about the programs they air – even on Sunday night.
I’ve found that PDs often shy away from promoting these shows, either due to inventory pressure or because they simply don’t want to put much effort into them. And of course, that becomes the “self-fulfilling prophecy” of failure. If you don’t talk about these shows or creatively market them, you know what’s going to happen. People simply won’t find them on a weekend evening.
The next thing you know, you’ll be sounding like the Netflix team:
“We’re cancelling ______________ because simply not enough people were listening to justify carrying it.”
So, what should the litmus test be for evaluating these shows? Yes, ratings matter but the truth is, they tend to be wobbly and unreliable. Then, there’s the subjective call about whether the show is any good – is it well-produced, how’s the talent, and does it fill a void?
As a programmer, I took those variables into consideration, but for me, the tie-breaker was whether the show gave the station programming we simply couldn’t provide locally – whether it was artist interviews and performance, perspective and history, or production values we could never have achieved in-house. I saw it as a form of content dessert – something a little special that was just different enough from the regular format.
I also had a pretty good handle on what would truly make my audience happy – not all of them, of course – but the ones who loved the station enough to bother tuning in on Sunday nights.
Back then, none of them had social media accounts, YouTube channels, or even “communities” to interact with.
Today, they all do. And a special program that’s well-marketed, effectively “socialized,” and taps into influencers across these platforms has a a chance to expand the tent, build the brand, and maybe turn some P2s into P1s.
The thing is, I’ve rarely seen radio stations do an effective job of marketing special programming in the social space. Most don’t even try.
If radio doesn’t take the time and effort to make special programs special, why should the audience care?
I’m not suggesting Netflix did a bad job marketing “One Day At A Time.”
But it’s easier to cancel a show than it is to figure out how to market it to a passionate, sharing audience.
And it comes down to answering this question:
Does it make your station sound more special?
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
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I found the true value proposition in these unique shows was in the promos—not necessarily in the show itself.
While a PD at smooth jazz WJJZ, airing the Ramsey Lewis show on Sunday nights didn’t hurt the station and bought us important cred with the straight ahead jazzheads. I aired the promo A LOT so I could get this credit, and at the same time I quietly loved the idea that in Philadelphia someone, somewhere, was getting turned on to America’s greatest music genre.
Exactly, Anne. It made a station sound passionate and involved with its music. Thanks for the comment & for reading our blog.
With the increased costs of seeing shows live these days, and many of our core artists coming off the road (OZZY, Bob Seger, et. al) I think now is the time to come up with a fresh presentation of the KBFH. King Biscuit was smart to eventually release selected shows on CD! I was surprised to see in that catalog that KBFH recorded the very first concert I attended! Now, I own it. It’s was so awesome to re-live and remember how I was feeling at that moment… (Robin Trower 1976-New Haven Coliseum). Obviously, not all shows would work (because of the “safety” of the format), but it would be worth bringing back!
Max, you make a good point as more and more bands will no longer be available live, in concert (holograms aside!). A reboot of KBFH just might expose a whole new audience to these great shows. Thanks for the comment.
Great insights Fred! (full disclaimer, I work at APM), APM’s weekend public radio program “LIve From Here – with Chris Thile” LFH falls squarely into the category you’re exploring. It’s fronted by mandolin virtuoso Chris Thile. He’s got alt country and bluegrass roots, but is gifted in many genres, and LOVES to invite guests onto each show from rock, jazz, folk, classical, etc. When I saw you mention King Biscuit I smiled, and thought “yeah!”
You’re so right about the different kinds of value that this category of programming brings to a local station. Each PD has to make their own decision, but I’d argue any program that surprises, and delights an audience lends a brand credibility that washes over the station brand. That halo isn’t limited to just the hour or two that it’s on the air. The challenge for any of these shows is to be able to market the show past the public radio audience so that stations can attract new listeners. In the days of King Biscuit, as you point out. The stations promoted the show during the week, basically taking credit for their hip factor. It helped their image even with listeners who never heard the show.
Progressive FM’s used to delight their audiences with new and diverse artists. That’s what Chris tries to do with LFH. Rachael Price, Bela Fleck, Edgar Meyer (together w Chris), Andrew Bird, Jason Isbel, Emily King, Sufjan Stevens, Jon Batiste, Diana Gordin, Death Cab For Cutie, Maggie Rogers, Kacey Musgraves, The War and Treaty, John Prine to name a few.
So we continue to try to test your thinking every week. We’re also thinking about alternative revenue streams in order to provide solid sustainability. Bottom line though, as you said, we have to answer the question “does it make your radio station more special?” APM is leaning forward into this special type of program. And, at least so far, stations are partnering with us.
Tim, it’s never easy – especially when replacing a public radio institution. But continuing to emphasize the unique benefits stations derive from carrying the show is paramount. I heard good anecdotal feedback that when Chris apapears in local markets, the magic happens – with the audience AND with public radio decision makers. Good luck with the show, best to your team, and thanks for chiming in.
Fred,
Thanks for doing this article to give some insight on how syndication worked pre-PPM and how it can still be effective in the modern day. As the host of the LA Lloyd Rock 30 Countdown for nearly 19 years in an Active Rock format, the key of success has been stated in your closing question, “Does it make your station sound more special?” Each week, we have a guest co-host with interview segments that are place throughout the 3-hour show to give a more in-depth conversation with the artists. It’s a strategy that we used at the launch July 4, 2000 and still works today. Many of our affiliates have been with us since day one. The countdown utilizes songs that are already on the affiliates’ playlist but also includes conversations with a major artist that they may not have access to especially in the smaller markets. It is also a breeding ground to give up and coming artists more time for listeners to hear them talk about their band and music. The interviews on air in a PPM world are almost non-existent and usually end up hidden in a jock’s blog. So it is my job to give the station something special.
Hey LA, I sort of expected to hear from you on this post. Providing context to the music and reminding the audience (and PDs?) why it matters is key to making a countdown special (as Casey taught us). Are they artist interview clips stripped out as “work parts” so stations can use them in production and even when playing a song that’s in rotation? I neglected to mention that when WRIF aired “Rockline” on Monday nights, our news director Lynne Woodison would pull a quote from the featured artist for his newscast – and we ALWAYS highlighted callers who made it through from the 313. Thanks for the comment.
“Content dessert” – I LOVE it!
Appreciate that, Caroline!
Appreciate that. Would you like a little chocolate sauce on that King Biscuit?
Very insightful article. I’m a small syndication producer with two shows right now. This article was helpful to see syndication from the POV of a programmer. I produce a show called “Home Country” that we market almost exclusively to small market stations who really don’t have to worry about PPM. We provide a show that the small market stations can’t produce on their own.
However our new show set to launch is with a celebrity host and it’s focused on the 90’s. “The 90’s with Alfonso Ribeiro” is for larger market stations and it’s been a tougher sell probably for the reasons you mentioned. However I’m optimistic that we’ll succeed getting placed on stations in larger markets. Good programming is good programming no matter the source and perhaps PD’s will recognize that they have a stake in the success of any show. If they understood that Alfonso Ribeiro actually becomes a member of their weekend air staff then they would treat the show differently.
Larry, it’s all in the selling and positioning. But you may be (for the most part) dealing with a generation of programmers that didn’t experience the syndication rush that took place in the 70s and 80s. Good luck out there and keep reminding them that great outside talent can enhance any airstaff.
Special programs have been a big part of our strategy since inception – still waiting for McCartney or Springsteen or ??? to drop by Mendocino County, but Steven and Redbeard and the rest bring ’em by weekly, as you said, presented with passion and knowledge and a whole different approach. And, as Anne sair earlier, the promos can be a major kick. Concerts? Bring ’em. Album premieres? Any time. I’m also impressed at how many actually recall King Biscuit and all the qualities you describe..if Bob brought it back, I’d be in line….
I thought about you when I wrote the post, Tom. You always had a keen sense for the syndicated content that could enhance a station’s rep and entertain audiences in unique ways over the weekends. KBFH was a great show – the place where many rock fans experienced the music live for the first time. Thanks for the comment.
Thanks
You hit on all the points on why programmers should consider airing special programming for a couple hours on a Saturday or Sunday night to add to add “specialness” or “hipness” to the station but there is also a practical (i.e. $$$) reason why stations may want to take a syndicated show.
I’ve seen Rock stations whose Grateful Dead output is limited to spinning “Casey Jones” once a week run a Sunday Night Dead show and get dollars from business who want to be associated with that programming (Deadhead sticker on a Cadillac isn’t far fetched anymore). They are also the go to place for the promoters when the Dead offshoot shows come to town.
I’ve seen Alternative Stations that ran Jam Band shows get those promoter dollars when a simpatico act tours and capitalize on the lifestyle image that type of show brings to the station.
As one commenter noted, the promos give the station the image of being the “Dead station” when it is primarily regulated to Sunday Night at 10pm.
“Risking” a couple hours on a Sunday can make you money on a daypart which isn’t the most highly sought after on the station and get you an additional image that carries through the week.
Nike, as you point out, there are all sorts of good reasons why syndciation works. There are those “residuals” that pay off, sometimes when you don’t expect them. Appreciate the comment and your thoughts.
You said it, Fred, and others here have echoed it.
These programs still catch an audience’s ears … IF they know it’s there.
Almost every station, regardless of format, that I have been associated with has had SOME kind of special programming on weekends. From a big-band six-hour Saturday afternoon program that aired both on the MOR station I started my career at and at an Adult Standards station I was “PD” of (it was automated) a decade later to various countdown shows hosted by Casey Kasem, Dick Clark, and Big Ron O’Brien, artist interview shows and concerts … special weekend programming has always been part of my professional life.
But even with the spectrum of programming types and music genres, all of those shows worked because we promoted them. While I don’t admit to have been as clever as you in lifting a track from an upcoming show for promotion, every station I was at not only ran the recorded promos (and most had custom day/time tags taped by the host) but also live liner cards in the control room as a “mandatory read” once per airshift.
I like to think that for every listener who looked forward to these shows (and eagerly anticipated the promos to see what artists were being featured) there was another listener who heard us plug an upcoming broadcast and tuned in at a time when they hadn’t before … because they knew something they were interested in was going to air.
Antagonizing over whether or not to add such programming needs to include the consideration that there are listeners who do crave unique content but just need to know it is there. (Think of it as providing a podcast with an appointment time for listening.)
Oh, and I always figured that a special or two on Sunday night made it much more likely my station was on the clock-radio (remember those?) when it kicked in on Monday morning.
KM, you raise some strong points (as always). The benefits from great syndicated programming our many – they just have to sold and marketed in the right ways. And another thought that did not occur to me when writing the post is whether much of this material is now available on-demand on a station’s website. That would not be as ideal (for the ratings) as listening in real time, but it might make this content more attractive to a rapidly changing audience. Thanks for the comment.
I think it’s specifically geared toward public stations, but there’s also The Latin Alternative (hosted by Josh Norek and Ernesto Lechner)–which coincidentally just marked its 300th episode…
https://soundsandcolours.com/news/decade-alt-latin-air-latin-alternative-celebrates-300th-show-44420
Eric, nice to see the Latino community appreciates great radio. Thanks for the comment.
Great article Fred. I no longer have a dog in the commercial radio fight. In Non-Comm in the frozen tundra of Alaska. But, I do remember the King Biscuit, In Concert, Rockline and it’s CHR take-off Hitline (imagine a call in show today on music radio) and other great weekend programming from my days as a weekend jock at WRNO New Orleans and a programmer at their small sister station outside of the Big Easy, KXOR among other stations up and down the dial.
These things added to the brand of the station, long before we programmers ever uttered the word brand. As mentioned above, the promo value was great.
Another byproduct was that the weekend line-ups allowed the playlist to rest for a while so if there was an audience on that night, there was some differentiation from the pattern of programming.
Wait, thought of another feature, Earth News Radio with Joel Denver.
Anyway, great stuff and thanks!
I’m sure Joel would be happy about your recollection. And you’re right that great syndication also gave the format a chance to catch its breath. Thanks for the comment, Brian.
There are still shows that stations program on the weekends that listeners can make “appointments” for. Casey Kasem’s American Top 40 of the 70s. Breakfast With The Beatles, Open House party etc. But, only if they know they’re there.
Hi there.
I was just wondering about who actually covered the cost of recording these shows back in the day when Live multitracking with a truck driving around the country may have been costly.
Did the KBFH charge acts and money for recording costs?
I would think any costs to the band would have deterred many artist cooperation.
Did artists receive copies of the multi’s also for any future use by themselves?
Thanks.
I believe the model wass simple. Bands and labels performed because it was great marketing for them. KBGH made their money on advertising and sponsorships. Local stations were also allotted commercial units to sell. And programming got great content. It was a great model. Thanks, John.